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Someone to run

Mishehu Larutz Ito is the original title of this beautiful Israeli film, released in 2006 but only arrived in Italy late last year. Adapted from the novel by David Grossman (who appears for a few seconds to half of the film), shot in digital Oded Davidoff, the film tells the story of a chase in Jerusalem today. There are two narrative lines, two actors, great stories, exciting and compelling: it starts with a phone call in the middle of the night, and from there the mysterious elements are multiplied, taking the viewer bound well to the story.

Other major elements of interest in the film are the places and faces, among them stands out for its skill and beauty of the young protagonist Bar Belfer, one of the first, an unusual Jerusalem, far from the stereotypes on TV war and violence. A modern city, alive and pulsing, which takes root, as Obviously, even crime, in this case linked to drug trafficking. The short film is an exploration of a surface not far removed from contemporary Israel as it appears in the arena of mass communication, and the underworld is shown with exploited youth do not look "documentary", but raw and delicate at the same time, while you savor the daily life of a country for a time away from the war, in which residents can devote to each his own personal pursuit of happiness, even - perhaps especially - the wrong road. Neorealism almost magical, full of tenderness and light.

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The Curious Case of Benjamin Button The Reader

's not a masterpiece, the last David Fincher film, it is a great story, sometimes a bit 'pathetic, a bit more' surface, but almost always effective. For a story like this (the subject is taken from short story by F. Scott Fitzgerald, The Curious Case of Benjamin Button , but the film departs from them almost completely), with many aspects of morbid and abnormal, Fincher seems to me the ideal director. In fact, his style, which is very recognizable, can be heard in this work, however it is totally different from the previous films by the director of Denver. It 's his taste for the dark, the inexorable, and especially the "deformed" to bring this work to other, as in the penultimate Zodiac , even in Benjamin Button you feel a deep melancholy, resulting in my opinion on two factors: the perception of their own destiny against by the players and the inability to avoid this fate. It 'sad, perhaps, the figure not only this movie but all the work of David Fincher.

Onesta and nothing more than the acting of Brad Pitt, Fincher's favorite actor (this is their third film together, after the cult Seven and Fight Club ), Cate Blanchett, as always, is flawless, and the His presence adds a lot of the film, then delighted to find Julia Ormond in a marginal role, but well kept (the Ormond is an actress in my opinion great, the potential is still largely untapped). Eric Roth, the great Hollywood writer, author of many fine films and especially on long duration ( The Insider, Ali , Munich, The Good Shepherd and others) is very good at his job at this, and was not at all easy, nice choice to associate the concept of "time reversed" the disaster of Hurricane Katrina in New Orleans (a moment in American history when the world went upside down, in fact). Finally, praise to photography, Claudio Miranda.

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It 's a good movie, The Reader . Full of pain, but worth it to see it. It 'a European film in the end, even if the Weinstein brothers of touch U.S. becomes evident at times perhaps a little' too pathetic. But there is no superficiality, ever. There are questions however, and doubts, and Rovelli, the screenplay is not original (the film is based on the novel by Bernhard Schlink), while the characters are well defined and very believable, despite the "excesses" of the emotional subject, which is However great, exciting, pure and unrelenting drama, without repair or redemption in the end. The forces are morality and history, love and compassion, but there shares are to be taken, nor more or less good and more or less bad. Simply the court there, but should be suspended, must remain so, as a matter of pure humanity. The Reader short forces you to ask hard but impossible to give an answer, and this is perhaps its greatest merit. Congratulations to all anyway: Stephen Daldry, director of English very good (he directed the unforgettable The Hours), the screenplay by David Hare (The Hours, which also was writer), photography by Roger Deakins and Chris Menges ; the ever brilliant Bruno Ganz; Kate Winslet and Ralph Fiennes, actors much 100% UK loved by me and other millions of people around the world, actors exceptional, among the best comedians on the planet today, although their performances here are, in fact, painful as ever (I would have preferred to win the Kate ' Oscar Revolutionary Road, that film is even more good, but the establishment has never been so revolutionary, and Mendes's film hurts too much to America in order to receive prizes of U.S.). The film is finally the production, posthumously, by Anthony Minghella and Sydney Pollack.

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Rachel Getting Married

There is a fleeting instant in the car look Kym (Anne Hathaway, really good) in the first few frames of Rachel Getting Married. It 's almost nothing, but it is always an interpellation: enough to arouse suspicion. Meanwhile, the film begins with his digital camera on the go, lopsided, wobbly-eyed and crooked, on several occasions using the zoom, and the thing almost incredible out of a movie Dogma ... And here is the second suspect.

Kym embraces her, is returning home after a long period of detoxification, en route stops at a bar and the girl at the counter asks her enthusiastic: "I'm sorry, I have not already seen in Cops?" while two marines in camouflage fatigues enter the drugstore. Here we cat breeding, I begin to think.

got home meets Kym's sister Rachel, along with dozens of other people prepare their marriage to be celebrated two days later.

anti-eve is the evening a big dinner, all these friends invited: everyone gets a turn to his speech for the occasion, under the eyes of all present and ... a couple of amateur digital cameras, that someone among those present being used to record the memories groped. I have my own enlightenment, and now I realize that it did not take that much to understand: Rachel Getting Married mimetic of an utterance has home-movies, those movies from baptism, communion, confirmation, or just marriage. In short, the camera (digital) deliberately confuses your point of view with that of digital cameras in the profilmic. Simple but ingenious. And even when the cameras are off, the camera continues to run, want to record everything, and Kym heels of the other players, stuck to their shoulders and necks, their bodies. And the photograph was giving it his all to create an impression of (fake) amateurism: imprecise movements that seem to miss the main action, those zoom almost absurd, and above all these faces in one shot: there are fields and reverse in the film, the first planes will be less of a 10% of the shots, the rest is all that abnormal crowding of faces in the same frame, which among other things makes it impossible for the viewer to "control" the scene. A real inconvenience of vision, wanted to create confusion and distress: a bit 'the same sensations he feels in Kym return home.

And then the form becomes substance in the wonderful film by Jonathan Demme. Kym feels like a trap, because everyone wants to somehow "classified", check, or label it. Put it in a closed portion of reality and unchangeable, in which Rachel can not help but feel trapped: the father who always wants to know where to find the girl At the beginning of the film tells of seeing her in a TV series, the helper who tells of having already met the guy who recognizes the beauty salon ... Similarly Kym is somehow also a prisoner of the camera, if that has the appearance of a friendly home movie camera from the bedroom, is really a pain. Here is perhaps the significance of that initial, and only, contact: Kym is conscious of himself and of his difficult situation, and look straight in the eye without fear. But that look in the car has another meaning, perhaps above all: Kym is the only one who can break the spell of fiction, a fiction and terrible hypocrite who refuses to accept reality of a terrible past and a present full of rage and resentment. They all pretend, all play a part in some way and refuse to accept the consistency of their feelings for each other: Rachel (Rosemarie DeWitt, who was also very good), his father Paul (Bill Irwin), her mother Abby (Debra Winger, it's nice to see you again ). Kym however, from that first look in the car, breaking the spell breaks the fiction. And it does so for the rest of the film with his presence, bringing to light conflicts never dormant and putting memories in the middle of the speeches ...

I can not tell well, not to detract from the film that is truly magnificent. E 'bitter work, open-ended, deliberately unresolved, could to create great distress and sadness in the viewer, as only directed the great Jonathan Demme knows how. The script, written by Jenny Lumet (daughter of Sidney), is perfect, just, the beautiful and poignant soundtrack, played and recorded at the time, like the rest of the party scenes were filmed in one weekend with people, even actors amateurs who really had met on that occasion for the first time, brilliant photography and talented actors I mentioned above. Hope to be able to pull this film somewhere, who has had a very bad distribution, because it is truly a masterpiece.

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TG1 Special? Not at

Has anyone seen Special TG1 Sunday night? No? Done well. Why was un'emerita stupid. Indeed, it was worse, was dangerous. The title was

We, children of today, we . So the argument is clear, no? Degeneration, generic, those characters who are now between 15 and 20 years, more or less, and are labeled with the word relentlessly young. Apart from that I have my opinion about what it means to be young, do not expose it, because it would be overflowing, and above all I guess nobody cares and I can only say that I do not consist of simple data. Here, however, the term young is used in the sense that they use the malerazze marketing: that is to simplify, transform people into objects and therefore a product that sells.

I try to explain. What they did wrong with those of the Special, I think? Well, first of all, they, of course, simplified. They provided extremely superficial image of those 15-20years, an image that, even worse, it is far from new: almost all young people are wicked and cruel, almost all of them are bullies, and almost everybody uses the phone for acts feisbuk of exhibitionism that can be as simple jokes or acts of violence against the weak. Clubbers are tangled, and pipparoli occasional thieves. There is the psychiatrist's case, hired to say that young people are narcissists. But it should be? There are also two nice ladies from the air and deep, that tell of absent parents, to what sucks the worlds of politics, than the negative examples are there for everyone, and so on. etc.. In short, simplification first.

But those of the Special (authors of the episode: Carlotta Angeloni, Marco barrel, Marco and Alessio Zucchini Clementi) did even worse: they have helped to "sell" to the young image of young people who do not bother, does not create problems, and indeed leads to imitation. The bet it has all the features of the programs "Youth": rhythm faster, mount made of short segments and juxtaposed, MTV-style soundtrack, fleeting bits of anonymous interviews that can irritate or tease, but in any case are not made to go beyond the surface. In this way, and it is only the humble opinion of this writer, you will help spread the phenomenon studied, "not to oppose him. The more you show a bad thing not explained well that is negative, it seems more likely that this thing is spreading.

Then at the end of the program, there are a few examples of "virtuous" thrown in with the usual odious technique of news services, as if to say things are bad, but there is always someone that resists, and this is cause for hope. Hope shit, I might add, because the image of the musician who does not use hardly twenty internet or mobile phone, and was invited to play the inauguration of President Obama is not - simply - realistic is an example for the unattainable Most young people. I call this hypocrisy.

short, the TG1 was transformed for one night in a program for "young" has bad information, because superficial and highly biased, distorted, and has sold out to "young" a representation of their own type propaganda, showing negative practices indiscriminately without explaining how it was that those practices are wrong. At the same time confirmed in young non-prejudice and stereotypes about "young people" without even making them feel too guilty. There was a minimum of serious psychology or sociology in that program, no explanation, only a show of bad behavior. It means a show recognition, acceptance, and finally spreading further.

Then I do a request to the authors: you think that television has part in all this? In what happens at school, in hallways and classrooms, courtyards, streets, inside the houses ... You how much you would you blame?

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Movin on up!

Christmas 2008, it was time to leave the legendary fortress of Sciences, helped by a couple of fools is how I spent the holidays:) The most
complicated packing and moving 10000 (approx) vinyl ...

It disassembles the equipment

Drama

The Last Pizza

Cables etc ...

second trip to van full!

Farewell ...

Supa helps me out!

laugh kills it! And we oooouutt!

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Here comes the master! Last

bleaching proceeds, even in the hallway and lounge room for safety I put another layer of insulation on the floor.





Ready for installation!



key elements come into play: the Kuno parquetmaker





featuring the one and only "Master Mei"



At the end of installation, the final pose!

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Revolutionary Road Milk

Revolutionary Road is the first novel by Richard Yates , American writer who is little known in Italy at home but had no influence on people like Raymond Carver and Richard Ford. The film is very beautiful, and heartbreaking: Justin Haythe's script is excellent, the characters are alive and real in their hysteria and despair, plunged up to their necks in bad living that has no escape routes. And the contrast is the main theme of "Revolutionary Road : contrast between dream and reality, between husband and wife, between the icy surface of existence fully realized and the relentless torment the souls of the characters, painfully aware of their hypocrisy and of his captivity in a social context totally bogus.

Mendes's direction I am reminded of his wonderful movie a few years ago, American Beauty : there is the same atmosphere, much like a soundtrack, a photograph (by Roger Deakins, large) as beautiful and bright as significant to hide the reality of things, full of dark pain. As in American Beauty , even in Revolutionary Road appearance is terribly opposed to the truth, then as now the director delves deeply, mercilessly, in the dark space between what seems and what it is.

Acting Kate Winslet and Leonardo DiCaprio is excellent: they are perfect to play a couple of outsiders hidden, neurotic and double-sided. Winslet is so sorrowful and submissive to be moving, DiCaprio is full of anger and frustration, and knows how to touch the madness, and both are admirably pathetic. And there's something brilliant in their being together again after Titanic: James Cameron's film if their characters, young and naive, he embarked on a journey from Europe to America, full of hopes and desires, the path that would take Frank and April Wheeler in Revolutionary Road is exactly the reverse. Leave the suburbs of Connecticut to get a postcard new life in Paris, back to being young and carefree even thirty years and two dependent children. In short it is as if there were Jack and Rose arrived together in America, and now, after realizing their dreams as if they were only illusions, had decided to go back.